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Right To Die Issue Essays Of Elia

Charles Lamb achieved lasting fame as a writer during the years 1820-1825, when he captivated the discerning English reading public with his personal essays in the London Magazine, collected as Essays of Elia (1823) and The Last Essays of Elia (1833). Known for their charm, humor, and perception, and laced with idiosyncrasies, these essays appear to be modest in scope, but their soundings are deep, and their ripples extend to embrace much of human life—particularly the life of the imagination. Lamb is increasingly becoming known, too, for his critical writings. Lamb as Critic (1980) gathers his criticism from all sources, including letters. A new edition of his entertaining letters is also underway. While Lamb was an occasional journalist, a playwright (of small success), a writer for children, and a poet, it is his prose which has endured. He early realized that poetry was not his vocation; his best poetry was written in youth.

The son of John and Elizabeth Field Lamb, Charles Lamb, a Londoner who loved and celebrated that city, was born in the Temple, the abode of London lawyers, where his father was factotum for one of these, Samuel Salt. The family was ambitious for its two sons, John and Charles, and successful in entering Charles at Christ's Hospital, a London charity school of merit, on 9 October 1782. Here he met Samuel Taylor Coleridge, a fellow pupil who was Lamb's close friend for the rest of their lives and who helped stir his growing interest in poetry. Lamb left school early, on 23 November 1789. (Because he had a severe stammer, he did not seek a university career, then intended to prepare young men for orders in the Church of England.) In September 1791 he found work as a clerk at the South Sea House, but he left the following February, and in April he became a clerk at the East India Company, where he remained for thirty-three years, never feeling fitted for the work nor much interested in "business," but managing to survive, though without promotion.

Soon after leaving school, he was sent to Hertfordshire to his ill grandmother, housekeeper in a mansion seldom visited by its owners. Here he fell in love with Ann Simmons, subject of his earliest sonnets (though his first to be published, in the 29 December 1794 issue of the Morning Chronicle, was a joint effort with Coleridge to the actress Sarah Siddons—evidence of his lifelong devotion to the London theater). His "Anna" sonnets, which appeared in the 1796 and 1797 editions of Coleridge's Poems, have a sentimental, nostalgic quality: "Was it some sweet device of Faery / That mocked my steps with many a lonely glade, / And fancied wanderings with a fair-hair'd maid?"; "Methinks how dainty sweet it were, reclin'd"; "When last I roved these winding wood-walks green"; "A timid grace sits trembling in her eye." All were written after the love affair had ended, to Lamb's regret. His early novel, A Tale of Rosamund Gray (1798), is also rooted in the Ann episode.

After the death of Samuel Salt in 1792 the Lambs were in straitened circumstances, mother and father both ill. The elder brother, John, was living independently and was not generous to his family. On Charles (after an unpaid apprenticeship) and his elder sister, Mary, a dressmaker who had already shown signs of mental instability, fell the burden of providing for the family, and Mary took on the nursing as well. Two of Lamb's early sonnets are addressed to her: Mary, who was ten years older than Charles, had mothered him as a child, and their relationship was always a close one. Charles continued to write—a ballad on a Scottish theme, poems to friends and to William Cowper on that poet's recovery from a fit of madness. "A Vision of Repentance" ("I saw a famous fountain, in my dream") treats a truly Romantic theme—the hope of God's forgiveness for the sin of a repentant Psyche. It has a Keatsian charm but little lasting distinction.

The tragedy of 22 September 1796—when Mary, exhausted and deranged from overwork, killed their mother with a carving knife—changed both their lives forever. She was judged temporarily insane, and Lamb at twenty-two took full legal responsibility for her for life, to avoid her permanent confinement in a madhouse. Thereafter she was most often lucid, warm, understanding, and much admired by such friends as the essayist William Hazlitt. She also developed skills as a writer. But she was almost annually visited by the depressive illness which led to her confinement for weeks at a time in a private hospital in Hoxton. (Lamb too had been confined briefly at Hoxton for his mental state in 1795, but there was no later recurrence.) Both were known for their capacity for friendship and for their mid-life weekly gatherings of writers, lawyers, actors, and the odd but interesting "characters" for whom Lamb had a weakness.

For the moment Lamb "renounced" poetry altogether, but he soon took it up again and began work on a tragedy in Shakespearean blank verse, John Woodvil (1802), which has autobiographical elements. While there are a few fine lines and the writing in general is competent but unoriginal, plotting and character are weak: it was never produced. "The Wife's Trial," a late play in blank verse, is of minor interest. It was published in the December 1828 issue of Blackwood's Magazine. His only play to reach the stage, Mr. H——(in prose), was roundly hissed in London when it opened on 10 December 1806, but it was successfully produced in the United States thereafter.

Though soon after his mother's death he announced his intention to leave poetry "to my betters," Lamb continued to write verse of various kinds throughout his life: sonnets, lyrics, blank verse, light verse, prologues and epilogues to the plays of friends, satirical verse, verse translations, verse for children, and finally Album Verses (1830), written to please young ladies who kept books of such tributes. By 1820 he had developed what was to be his "Elia" prose style. He was the first intensely personal, truly Romantic essayist, never rivaled in popularity by his friends Leigh Hunt and William Hazlitt. Many of Lamb's essays before those he signed Elia came out in Hunt's publications."

For students of Lamb and for his recent biographers, Lamb's poetry is mainly of interest as autobiography and as light on the essays, often treating the same subjects. The great French critic Charles-Augustin Sainte-Beuve admired Lamb's early sonnet "Innocence" so much that he translated it, but most critics then and now agree with Leigh Hunt that Lamb "wanted sufficient heat and music to render his poetry as good as his prose." Alaric A. Watts, another of Lamb's contemporaries, wrote a jingle on Lamb that includes these lines: "For what if thy Muse will be sometimes perverse, / And present us with prose when she means to give verse?" He noted that Lamb's prose is often admirably poetic, so that "we miss not the rhyme." In the twentieth century A. C. Ward has effectively demonstrated that Lamb's poetry lacks both the inspiration and discipline of his prose, concluding that in his poetry "his intensity of emotion is never once matched with an intensely personal manner of expression: he does not find the one perfect mould, and hardly ever lights upon the miraculous right word...." (For "never once" one should substitute "rarely.") E. V. Lucas, Edmund Blunden, George L. Barnett, and William Kean Seymour, however, find in much of it charm, honesty, strength of feeling, and originality. "His poetry," Seymour concludes, "makes a pendant to his Essays, and it is a lustrous and significant pendant." The roles of artist and critic, of course, demand very different abilities: Lamb was, in correspondence, an able critic of the poetry of Coleridge and Wordsworth, who sometimes took his advice. (He met Wordsworth, who became a lifelong friend, through Coleridge in 1797.)"

Of considerable interest are Lamb's blank-verse poems, which reveal--with passion that comes through--his spiritual struggles after the tragedy, as he sought consolation in religion. In one, he doubts whether atheists or deists (such as his friend William Godwin, novelist, philosopher, and publisher of children's books) have adequate answers for the larger questions of life; other poems dwell on the death of the old aunt whose favorite he was (she also appears in his essay "Witches and Other Night-Fears"), on his dead mother with regrets for days gone, on his father's senility, on Mary's fate, and on his growing doubts about institutional religion. Yet these poems are among his most "prosy," with only an occasional impressive passage; their grammatical complexities are hard to follow. Several were published with poems by his Quaker friend Charles Lloyd in their Blank Verse (1798)."

Soon after composing this group he contributed a piece on his grandmother (later developed in "Dream-Children") to Lloyd's Poems on the Death of Priscilla Farmer (1796). The culmination of this period was "The Old Familiar Faces" (written in 1798 and published in Blank Verse), which ends:

 

some they have died and some they have left me,

And some are taken from me; all are departed;

All, all are gone, the old familiar faces.

This poem is still anthologized; it tells with grace the story of his own youth, touching a universal human chord. Written in 1803 and published in Lamb's 1818 Works, "Hester" takes as its subject a young Quaker whom he had often seen but to whom he had never spoken, though he said he was "in love" with her. She married early and soon died; his poem, a delicate tribute to a charming girl who enhances even Death, ends with lines addressed to her:

 

My sprightly neighbour, gone before

To that unknown and silent shore,

Shall we not meet, as heretofore,

Some summer morning,

 

When from thy cheerful eyes a ray

Hath struck a bliss upon the day,

A bliss that would not go away,

A sweet fore-warning?

"

These are his poetic triumphs. After them came more poems to friends, and also political verses, which are often sharp and clever, even venomous. "The Triumph of the Whale," on the prince regent, whom he sincerely hated, was published in Hunt's Examiner (15 March 1812) and may have had a part in Hunt's two-year incarceration for libel, though the official charge was based on Hunt's editorial a week later. "The Gipsy's Malison," another harsh poem of Lamb's later years--on the ill-born child who is destined to hang--is sometimes anthologized. Like "The Triumph of the Whale," it reveals a bitter aspect of Lamb's complex nature, which shows rarely but persistently in his work. Among Lamb's humorous light-verse pieces, "A Farewell to Tobacco" is one of the best. (He never gave up smoking or lost his taste for drink, though he tried often.)"

In 1808 he published his Specimens of English Dramatic Poets, Who Lived About the time of Shakspeare, with commentary that was later admired by the younger generation of Romantics, particularly Keats, and established Lamb as a critic. For needed cash, he and Mary, at Godwin's request, wrote Poetry for Children (1809), in which their fondness for children shines through the moral verses. It did not reach a second edition, but the Lambs were much more successful with Mrs. Leicester's School (1809) and Tales from Shakespear (1807), which has never since been out of print."

In 1818 Lamb published his early Works, and in 1819 he proposed to Fanny Kelly, a popular comic actress who was later a friend of Dickens and founder of the first dramatic school for girls. She refused him, confiding to a friend that she could not carry Mary's problems too. Charles and Mary did know a sort of parenthood in their 1823 "adoption" of a teenage orphan, Emma Isola, who regarded their home as hers until she married Lamb's new young publisher, Edward Moxon, in 1833."

In the years 1820-1825 Lamb made his reputation as Elia in the London Magazine. By 1825, though he was still a clerk, Lamb's salary had risen after long service, and he was able to retire at fifty with a good pension and provision for Mary. He occupied his new leisure for several years at the British Museum, compiling more dramatic excerpts, which appeared in William Hone's Table Book throughout 1827, and contributing other writings to periodicals. When Album Verses appeared in 1830, followed by the humorous ballad Satan in Search of a Wife (1831), critics found them disappointing fluff. His Last Essays of Elia (1833), from the London Magazine, reminded readers of his true stature."

Brother and sister had had to move many times as the reason for Mary's increasing absences from home became known. Their last move was to a sort of sanitarium at Edmonton, near London, in 1833. Here, while out walking one day in 1834, Lamb fell. He died of erysipelas a few days later. Mary lived on, with a paid companion, till 1847."

Lamb's essays were taught in schools until World War II, when reaction set in--from critics such as F. R. Leavis and others--dulling the sentimental admiration Lamb had till then enjoyed. Yet in the 1970s serious scholars increasingly discovered new virtues in his fine letters and criticism, and new subtleties in the old essays: too long had it been said that the affection he inspired precluded criticism. New biographies and studies have recently appeared, and in the 1980s there began a renewed appreciation for Lamb's prose--though not for his poetry. The Charles Lamb Society of London flourishes, and publishes a bulletin which has become impressively scholarly since its new series began in the 1970s.
— Winifred F. Courtney, Greenwood, South Carolina

For other uses, see Charles Lamb (disambiguation).

Charles Lamb (10 February 1775 – 27 December 1834) was an Englishessayist, poet, and antiquarian, best known for his Essays of Elia and for the children's book Tales from Shakespeare, co-authored with his sister, Mary Lamb (1764–1847).

Friends with such literary luminaries as Samuel Taylor Coleridge, William Wordsworth, and William Hazlitt, Lamb was at the centre of a major literary circle in England. He has been referred to by E. V. Lucas, his principal biographer, as "the most lovable figure in English literature".[1]

Youth and schooling[edit]

Lamb was born in London, the son of Elizabeth Field and John Lamb. Lamb was the youngest child, with a sister 11 years older named Mary and an even older brother named John; there were four others who did not survive infancy. His father John Lamb was a lawyer's clerk and spent most of his professional life as the assistant to a barrister named Samuel Salt, who lived in the Inner Temple in the legal district of London. It was there in Crown Office Row that Charles Lamb was born and spent his youth. Lamb created a portrait of his father in his "Elia on the Old Benchers" under the name Lovel. Lamb's older brother was too much his senior to be a youthful companion to the boy but his sister Mary, being born eleven years before him, was probably his closest playmate. Lamb was also cared for by his paternal aunt Hetty, who seems to have had a particular fondness for him. A number of writings by both Charles and Mary suggest that the conflict between Aunt Hetty and her sister-in-law created a certain degree of tension in the Lamb household. However, Charles speaks fondly of her and her presence in the house seems to have brought a great deal of comfort to him.

Some of Lamb's fondest childhood memories were of time spent with Mrs Field, his maternal grandmother, who was for many years a servant to the Plummer family, who owned a large country house called Blakesware, near Widford, Hertfordshire. After the death of Mrs Plummer, Lamb's grandmother was in sole charge of the large home and, as Mr Plummer was often absent, Charles had free rein of the place during his visits. A picture of these visits can be glimpsed in the Elia essay Blakesmoor in H—shire.

Why, every plank and panel of that house for me had magic in it. The tapestried bed-rooms – tapestry so much better than painting – not adorning merely, but peopling the wainscots – at which childhood ever and anon would steal a look, shifting its coverlid (replaced as quickly) to exercise its tender courage in a momentary eye-encounter with those stern bright visages, staring reciprocally – all Ovid on the walls, in colours vivider than his descriptions.[2]

Little is known about Charles's life before he was seven other than that Mary taught him to read at a very early age and he read voraciously. It is believed that he suffered from smallpox during his early years, which forced him into a long period of convalescence. After this period of recovery Lamb began to take lessons from Mrs Reynolds, a woman who lived in the Temple and is believed to have been the former wife of a lawyer. Mrs Reynolds must have been a sympathetic schoolmistress because Lamb maintained a relationship with her throughout his life and she is known to have attended dinner parties held by Mary and Charles in the 1820s. E. V. Lucas suggests that sometime in 1781 Charles left Mrs Reynolds and began to study at the Academy of William Bird.[3]

His time with William Bird did not last long, however, because by October 1782 Lamb was enrolled in Christ's Hospital, a charity boarding school chartered by King Edward VI in 1553. A thorough record of Christ's Hospital is to be found in several essays by Lamb as well as The Autobiography of Leigh Hunt and the Biographia Literaria of Samuel Taylor Coleridge, with whom Charles developed a friendship that would last for their entire lives. Despite the school's brutality, Lamb got along well there, due in part, perhaps, to the fact that his home was not far distant, thus enabling him, unlike many other boys, to return often to its safety. Years later, in his essay "Christ’s Hospital Five and Thirty Years Ago", Lamb described these events, speaking of himself in the third person as "L".

"I remember L. at school; and can well recollect that he had some peculiar advantages, which I and other of his schoolfellows had not. His friends lived in town, and were near at hand; and he had the privilege of going to see them, almost as often as he wished, through some invidious distinction, which was denied to us."[4]

Christ's Hospital was a typical English boarding school and many students later wrote of the terrible violence they suffered there. The upper master (i.e. principal or headteacher) of the school from 1778 to 1799 was Reverend James Boyer, a man renowned for his unpredictable and capricious temper. In one famous story Boyer was said to have knocked one of Leigh Hunt's teeth out by throwing a copy of Homer at him from across the room. Lamb seemed to have escaped much of this brutality, in part because of his amiable personality and in part because Samuel Salt, his father's employer and Lamb's sponsor at the school, was one of the institute's governors.

Charles Lamb suffered from a stutter and this "inconquerable impediment" in his speech deprived him of Grecian status at Christ's Hospital, thus disqualifying him for a clerical career. While Coleridge and other scholarly boys were able to go on to Cambridge, Lamb left school at fourteen and was forced to find a more prosaic career. For a short time he worked in the office of Joseph Paice, a London merchant, and then, for 23 weeks, until 8 February 1792, held a small post in the Examiner's Office of the South Sea House. Its subsequent downfall in a pyramid scheme after Lamb left (the South Sea Bubble) would be contrasted to the company's prosperity in the first Elia essay. On 5 April 1792 he went to work in the Accountant's Office for the British East India Company, the death of his father's employer having ruined the family's fortunes. Charles would continue to work there for 25 years, until his retirement with pension (the "superannuation" he refers to in the title of one essay).

In 1792 while tending to his grandmother, Mary Field, in Hertfordshire, Charles Lamb fell in love with a young woman named Ann Simmons. Although no epistolary record exists of the relationship between the two, Lamb seems to have spent years wooing her. The record of the love exists in several accounts of Lamb's writing. "Rosamund Gray" is a story of a young man named Allen Clare who loves Rosamund Gray but their relationship comes to nothing because of her sudden death. Miss Simmons also appears in several Elia essays under the name "Alice M". The essays "Dream Children", "New Year's Eve", and several others, speak of the many years that Lamb spent pursuing his love that ultimately failed. Miss Simmons eventually went on to marry a silversmith and Lamb called the failure of the affair his "great disappointment".

Family tragedy[edit]

Both Charles and his sister Mary suffered a period of mental illness. As he himself confessed in a letter, Charles spent six weeks in a mental facility during 1795, at the time while he was already making his name as a poet:

Coleridge, I know not what suffering scenes you have gone through at Bristol. My life has been somewhat diversified of late. The six weeks that finished last year and began this your very humble servant spent very agreeably in a mad house at Hoxton—I am got somewhat rational now, and don’t bite any one. But mad I was—and many a vagary my imagination played with me, enough to make a volume if all told. My Sonnets I have extended to the number of nine since I saw you, and will some day communicate to you.

— Lamb to Coleridge; 27 May 1796.[5]

However, Mary Lamb's illness was particularly strong, and it led her to become aggressive on a fatal occasion. On 22 September 1796, while preparing dinner, Mary became angry with her apprentice, roughly shoving the little girl out of her way and pushing her into another room. Her mother, Elizabeth, began yelling at her for this, and Mary suffered a mental breakdown as her mother continued yelling at her. A terrible event occurred: she took the kitchen knife she had been holding, unsheathed it, and approached her mother, who was sitting down. Mary, "worn down to a state of extreme nervous misery by attention to needlework by day and to her mother at night", was seized with acute mania and stabbed her mother in the heart with a table knife. Charles ran into the house soon after the murder and took the knife out of Mary's hand.

Later in the evening, Charles found a local place for Mary in a private mental facility called Fisher House, which had been found with the help of a doctor friend of his. While reports were published by the media, Charles wrote a letter to Samuel Taylor Coleridge in connection to the matricide:

MY dearest friend — White or some of my friends or the public papers by this time may have informed you of the terrible calamities that have fallen on our family. I will only give you the outlines. My poor dear dearest sister in a fit of insanity has been the death of her own mother. I was at hand only time enough to snatch the knife out of her grasp. She is at present in a mad house, from whence I fear she must be moved to an hospital. God has preserved to me my senses, — I eat and drink and sleep, and have my judgment I believe very sound. My poor father was slightly wounded, and I am left to take care of him and my aunt. Mr Norris of the Bluecoat school has been very very kind to us, and we have no other friend, but thank God I am very calm and composed, and able to do the best that remains to do. Write, —as religious a letter as possible— but no mention of what is gone and done with. —With me "the former things are passed away," and I have something more to do that [than] to feel. God almighty have us all in his keeping.

— Lamb to Coleridge. 27 September 1796[7]

Charles took over responsibility for Mary after refusing his brother John's suggestion that they have her committed to a public lunatic asylum. Lamb used a large part of his relatively meagre income to keep his beloved sister in the private "madhouse" in Islington. With the help of friends, Lamb succeeded in obtaining his sister's release from what would otherwise have been lifelong imprisonment. Although there was no legal status of "insanity" at the time, the jury returned the verdict of "lunacy" which was how she was freed from guilt of willful murder, on the condition that Charles take personal responsibility for her safekeeping.

The 1799 death of John Lamb was something of a relief to Charles because his father had been mentally incapacitated for a number of years since suffering a stroke. The death of his father also meant that Mary could come to live again with him in Pentonville, and in 1800 they set up a shared home at Mitre Court Buildings in the Temple, where they would live until 1809.

In 1800, Mary's illness came back and Charles had to take her back again to the asylum, probably Bethlehem Hospital.[citation needed] In those days, Charles sent a letter to Coleridge, in which he admitted he felt melancholic and lonely, "almost wishing that Mary were dead."[9]

Later she would come back, and both he and his sister would enjoy an active and rich social life. Their London quarters became a kind of weekly salon for many of the most outstanding theatrical and literary figures of the day. In 1869, a club, The Lambs, was formed in London to carry on their salon tradition. The actor Henry James Montague founded the club's New York counterpart in 1874. [10]

Charles Lamb, having been to school with Samuel Coleridge, counted Coleridge as perhaps his closest, and certainly his oldest, friend. On his deathbed, Coleridge had a mourning ring sent to Lamb and his sister. Fortuitously, Lamb's first publication was in 1796, when four sonnets by "Mr Charles Lamb of the India House" appeared in Coleridge's Poems on Various Subjects. In 1797 he contributed additional blank verse to the second edition, and met the Wordsworths, William and Dorothy, on his short summer holiday with Coleridge at Nether Stowey, thereby also striking up a lifelong friendship with William. In London, Lamb became familiar with a group of young writers who favoured political reform, including Percy Bysshe Shelley, William Hazlitt, and Leigh Hunt.

Lamb continued to clerk for the East India Company and doubled as a writer in various genres, his tragedy, John Woodvil, being published in 1802. His farce, Mr H, was performed at Drury Lane in 1807, where it was roundly booed. In the same year, Tales from Shakespeare (Charles handled the tragedies; his sister Mary, the comedies) was published, and became a best seller for William Godwin's "Children's Library".

On 20 July 1819, at age 44, Lamb, who, because of family commitments, had never married, fell in love with an actress, Fanny Kelly, of Covent Garden, and besides writing her a sonnet he also proposed marriage.[11] She refused him, and he died a bachelor.

His collected essays, under the title Essays of Elia, were published in 1823 ("Elia" being the pen name Lamb used as a contributor to The London Magazine).

The Essays of Elia would be criticised in the Quarterly Review (January, 1823) by Robert Southey, who thought its author to be irreligious. When Charles read the review, entitled "The Progress of Infidelity", he was filled with indignation, and wrote a letter to his friend Bernard Barton, where Lamb declared he hated the review, and emphasised that his words "meant no harm to religion". First, Lamb did not want to retort, since he actually admired Southey; but later he felt the need to write a letter "Elia to Southey", in which he complained and expressed that the fact that he was a dissenter of the Church, did not make him an irreligious man. The letter would be published in The London Magazine, on October, 1823:

Rightly taken, Sir, that Paper was not against Graces, but Want of Grace; not against the ceremony, but the carelessness and slovenliness so often observed in the performance of it. . . You have never ridiculed, I believe, what you thought to be religion, but you are always girding at what some pious, but perhaps mistaken folks, think to be so.

— Charles Lamb, "Letter of Elia to Robert Southey, Esquire"[12]

A further collection called The Last Essays of Elia was published in 1833, shortly before Lamb's death. Also, in 1834, Samuel Coleridge died. The funeral was confined only to the family of the writer, so Lamb was prevented from attending and only wrote a letter to Rev. James Gilman, a very close [word missing], expressing his condolences.

He died of a streptococcal infection, erysipelas, contracted from a minor graze on his face sustained after slipping in the street, on 27 December 1834. He was 59. From 1833 till their deaths, Charles and Mary lived at Bay Cottage, Church Street, Edmonton, north of London (now part of the London Borough of Enfield).[13] Lamb is buried in All Saints' Churchyard, Edmonton. His sister, who was ten years his senior, survived him for more than a dozen years. She is buried beside him.

Work[edit]

Lamb's first publication was the inclusion of four sonnets in Coleridge's Poems on Various Subjects, published in 1796 by Joseph Cottle. The sonnets were significantly influenced by the poems of Burns and the sonnets of William Bowles, a largely forgotten poet of the late 18th century. Lamb's poems garnered little attention and are seldom read today. As he himself came to realise, he was a much more talented prose stylist than poet. Indeed, one of the most celebrated poets of the day—William Wordsworth—wrote to John Scott as early as 1815 that Lamb "writes prose exquisitely"—and this was five years before Lamb began TheEssays of Elia for which he is now most famous.

Notwithstanding, Lamb's contributions to Coleridge's second edition of the Poems on Various Subjects showed significant growth as a poet. These poems included The Tomb of Douglas and A Vision of Repentance. Because of a temporary fallout with Coleridge, Lamb's poems were to be excluded in the third edition of the Poems though as it turned out a third edition never emerged. Instead, Coleridge's next publication was the monumentally influential Lyrical Ballads co-published with Wordsworth. Lamb, on the other hand, published a book entitled Blank Verse with Charles Lloyd, the mentally unstable son of the founder of Lloyds Bank. Lamb's most famous poem was written at this time and entitled The Old Familiar Faces. Like most of Lamb's poems, it is unabashedly sentimental, and perhaps for this reason it is still remembered and widely read today, being often included in anthologies of British and Romantic period poetry. Of particular interest to Lambarians is the opening verse of the original version of The Old Familiar Faces, which is concerned with Lamb's mother, whom Mary Lamb killed. It was a verse that Lamb chose to remove from the edition of his Collected Work published in 1818:

I had a mother, but she died, and left me,

Died prematurely in a day of horrors -

All, all are gone, the old familiar faces.

In the final years of the 18th century, Lamb began to work on prose, first in a novella entitled Rosamund Gray, which tells the story of a young girl whose character is thought to be based on Ann Simmons, an early love interest. Although the story is not particularly successful as a narrative because of Lamb's poor sense of plot, it was well thought of by Lamb's contemporaries and led Shelley to observe, "what a lovely thing is Rosamund Gray! How much knowledge of the sweetest part of our nature in it!" (Quoted in Barnett, page 50)

In the first years of the 19th century, Lamb began a fruitful literary cooperation with his sister Mary. Together they wrote at least three books for William Godwin’s Juvenile Library. The most successful of these was Tales From Shakespeare, which ran through two editions for Godwin and has been published dozens of times in countless editions ever since. The book contains artful prose summaries of some of Shakespeare's most well-loved works. According to Lamb, he worked primarily on Shakespeare's tragedies, while Mary focused mainly on the comedies.

Lamb's essay "On the Tragedies of Shakespeare Considered with Reference to their Fitness for Stage Representation", which was originally published in the Reflector in 1811 with the title "On Garrick, and Acting; and the Plays of Shakspeare, considered with reference to their fitness for Stage Representation", has often been taken as the ultimate Romantic dismissal of the theatre.[14] In the essay, Lamb argues that Shakespeare should be read, rather than performed, in order to protect Shakespeare from butchering by mass commercial performances. While the essay certainly criticises contemporary stage practice, it also develops a more complex reflection on the possibility of representing Shakespearean dramas:

Shakespeare’s dramas are for Lamb the object of a complex cognitive process that does not require sensible data, but only imaginative elements that are suggestively elicited by words. In the altered state of consciousness that the dreamlike experience of reading stands for, Lamb can see Shakespeare’s own conceptions mentally materialized.[15]

Besides contributing to Shakespeare's reception with his and his sister's book Tales From Shakespeare, Lamb also contributed to the recovery of acquaintance with Shakespeare's contemporaries. Accelerating the increasing interest of the time in the older writers, and building for himself a reputation as an antiquarian, in 1808 Lamb compiled a collection of extracts from the old dramatists, Specimens of the English Dramatic Poets Who Lived About the Time of Shakespeare. This also contained critical "characters" of the old writers,[16] which added to the flow of significant literary criticism, primarily of Shakespeare and his contemporaries, from Lamb's pen. Immersion in seventeenth-century authors, such as Robert Burton and Sir Thomas Browne, also changed the way Lamb wrote, adding a distinct flavour to his writing style.[17] Lamb's friend, the essayist William Hazlitt, thus characterised him: "Mr. Lamb ... does not march boldly along with the crowd .... He prefers bye-ways to highways. When the full tide of human life pours along to some festive show, to some pageant of a day, Elia would stand on one side to look over an old book-stall, or stroll down some deserted pathway in search of a pensive description over a tottering doorway, or some quaint device in architecture, illustrative of embryo art and ancient manners. Mr. Lamb has the very soul of an antiquarian ...."[18]

Although he did not write his first Elia essay until 1820, Lamb’s gradual perfection of the essay form for which he eventually became famous began as early as 1811 in a series of open letters to Leigh Hunt’s Reflector. The most famous of these early essays is The Londoner, in which Lamb famously derides the contemporary fascination with nature and the countryside. He would continue to fine-tune his craft, experimenting with different essayistic voices and personae, for the better part of the next quarter century.

Religious views[edit]

It has been pointed out that spirituality played an important role in Lamb's personal life, and that, although he was not a churchman, and disliked organised religion, he yet "sought consolation in religion,"[19] as shown by letters to Samuel Taylor Coleridge and Bernard Barton, in which he described the New Testament as his "best guide" for life, and where he talked about how he used to read the Psalms for one or two hours without getting tired.[20] Other papers have also dealt with his Christian beliefs.[21][22] As his friend Samuel Coleridge, Lamb was sympathetic to PriestleyanUnitarianism[23] and was a dissenter, yet, he was described by Coleridge himself as one whose "faith in Jesus ha[d] been preserved" even after the family tragedy. Wordsworth also described him as a firm Christian in the poem Written After the Death of Charles Lamb.[24] Alfred Ainger, in his work Charles Lamb, writes that Lamb's religion had become "an habit".

The poems "On The Lord's Prayer", "A Vision Of Repentance", "The Young Catechist", "Composed at Midnight", "Suffer Little Children, And Forbid Them Not, To Come Unto Me", "Written a twelvemonth after the Events", "Charity", "Sonnet To A Friend" and "David" reflect much about Lamb's faith, whereas the poem "Living Without God In The World" has been called a "poetic attack" to unbelief,[25] in which Lamb expresses his disgust for atheism attributing its nature to pride.[26]

Legacy[edit]

Anne Fadiman notes regretfully that Lamb is not widely read in modern times: "I do not understand why so few other readers are clamoring for his company... [he] is kept alive largely through the tenuous resuscitations of university English departments".[27]

Notwithstanding, there has always been a small but enduring following for Lamb's works, as the long-running and still-active Charles Lamb Bulletin demonstrates. Because of his notoriously quirky, even bizarre, style, he has been more of a "cult favorite" than an author with mass popular or scholarly appeal.

Lamb was honoured by The Latymer School, a grammar school in Edmonton, a suburb of London where he lived for a time; it has six houses, one of which, "Lamb", is named after Charles.[28]

William Wordsworth composed an epitaph-poem "Written After The Death Of Charles Lamb" (1835; 1836), in which he exalts the moral character of his friend.[29] Sir Edward Elgar titled an orchestral work "Dream Children" having in mind Lamb's essay of that name.

Quotations[edit]

  • "But, then, in every species of reading, so much depends upon the eyes of the reader..." – From Lamb's essay "On the Danger of Confounding Moral with Personal Deformity"
  • "He chose his companions for some individuality of character which they manifested. Hence not many persons of science, and few professed literati, were of his councils. They were, for the most part, persons of an uncertain fortune; ... his intimados, to confess a truth, were, in the world's eyes, a ragged regiment. He found them floating on the surface of society; and the colour, or something else, in the weed, pleased him...He never greatly cared for the society of what are called good people." – From Lamb's essay "A Character of the Late Elia"
  • "Lawyers, I suppose, were children once." – From Lamb's essay The Old Benchers of the Inner Temple; features in the preface of To Kill a Mockingbird
  • "Man is a gaming animal. He must always be trying to get the better in something or other." – features in the Essays of Elia (1823)

Selected works[edit]

  • Blank Verse, poetry, 1798
  • A Tale of Rosamund Gray, and old blind Margaret, 1798
  • John Woodvil, poetic drama, 1802
  • Tales from Shakespeare, 1807
  • The Adventures of Ulysses, 1808
  • Specimens of English Dramatic poets who lived about the time of Shakespeare, 1808
  • On the Tragedies of Shakespeare, 1811
  • Witches and Other Night Fears, 1821
  • The Pawnbroker's Daughter, 1825
  • Eliana, 1867
  • Essays of Elia, 1823
  • The Last Essays of Elia, 1833

Notes[edit]

  1. ^Lucas, Edward Verrall; Lamb, John (1905). The life of Charles Lamb. 1. London: G.P. Putnam's Sons. p. xvii. OCLC 361094. 
  2. ^Last Essays of Elia page 7
  3. ^Lucas, Life of Lamb page 41
  4. ^The Essays of Elia page 23
  5. ^Works of Charles Lamb and Mary Lamb. Letter 1, 1976.
  6. ^As quoted in Works of Charles and Mary Lamb. Letters (1905).
  7. ^Letter to S. T. Coleridge. Monday, 12 May 1800.
  8. ^History of The Lambs
  9. ^Charles Kent, ‘Kelly, Frances Maria (1790–1882)’, rev. J. Gilliland, Oxford Dictionary of National Biography, Oxford University Press, 2004; online edn, Jan 2008 accessed 18 Nov 2014
  10. ^"Commentary: Charles Lamb on Robert Southey". 
  11. ^Literary EnfieldArchived 13 January 2009 at the Wayback Machine. Retrieved 4 June 2008
  12. ^James, Felicity. Charles Lamb, Coleridge and Wordsworth: Reading Friendship in the 1790s. Palgrave Macmillan, 2008, p.50.
  13. ^Liberto, Fabio. "Visions, Dreams and Reality: Charles Lamb and the Inward ‘Topography’ of Shakespeare’s Plays". In The Languages of Performance in British Romanticism. Peter Lang, 2008, p.156.
  14. ^Cecil, David. A Portrait of Charles Lamb. New York: Charles Scribner's Sons, 1983, pp. 130–1.
  15. ^Barnett, George L. Charles Lamb: The Evolution of Elia. Bloomington: Indiana University Press, pp. 200–14.
  16. ^Hazlitt, William. "Elia, and Geoffrey Crayon", The Spirit of the Age, in The Complete Works of William Hazlitt, vol. 11, P. P. Howe, ed. London: J.M. Dent & Sons, 1932, pp. 178–79.
  17. ^Biography: Charles Lamb 1775–1834, The Poetry Foundation:
  18. ^The Open Court Publishing Company, 1923, "The Religious Opinions of Charles Lamb;" by Dudley Wright. No. 810, the Religion of Science, and the Extension of the Religious Parliament Idea.
  19. ^Works of Charles Lamb and Mary Lamb (2010), MobileReference. ISBN 1607787598, 9781607787594: ""His great, and indeed infinite reverence, nevertheless, for Christ is shown in his own Christian virtues and in constant expressions of reverence."
  20. ^E.V. Lucas. The Works of Charles and Mary Lamb, Volume 2
  21. ^CHARLES LAMB (1775–1834). The Charles Lamb Society.
  22. ^In it, Wordsworth wrote of Lamb: "From the most gentle creature nursed in fields / Had been derived the name he bore— a name, / Wherever Christian altars have been raised,/ Hallowed to meekness and to innocence
  23. ^Jeremy Black (2007), "Culture in Eighteenth-Century England: A Subject for Taste, Continuum, p.97
  24. ^Charles Lamb Society (1997), "The Charles Lamb Bulletin", Números 97-104
  25. ^Fadiman, Anne. "The Unfuzzy Lamb". At Large and At Small: Familiar Essays. pp. 26–27. 
  26. ^"Latymer School - Lamb House". Latymer School. Retrieved 13 October 2017. 
  27. ^William Wordsworth (1904), "The complete poetical works of William Wordsworth", Houghton, Mifflin & Co., p. 734

Biographical references[edit]

  • Life of Charles Lamb by E.V. Lucas, G.P. Putman & Sons, London, 1905.
  • Charles Lamb and the Lloyds by E.V. Lucas Smith, Elder & Company, London, 1898.
  • Charles Lamb and His Contemporaries, by Edmund Blunden, Cambridge University Press, 1933.
  • Companion to Charles Lamb, by Claude Prance, Mansell Publishing, London, 1938.
  • Charles Lamb; A Memoir, by Barry Cornwall aka Bryan Procter, Edward Moxon, London, 1866.
  • Young Charles Lamb, by Winifred Courtney, New York University Press, 1982.
  • Portrait of Charles Lamb, by David Cecil, Constable, London, 1983.
  • Charles Lamb, by George Barnett, Twayne Publishers, Boston, 1976.
  • A Double Life: A Biography of Charles and Mary Lamb by Sarah Burton, Viking, 1993.
  • The Lambs: Their Lives, Their Friends, and Their Correspondence by William Carew Hazlitt, C. Scribner's Sons, 1897.

External links[edit]

Fanny Kelly "Entertains" from "The Works of Charles Lamb". The original caption said "“Mr Lamb having taken the liberty of addressing a slight compliment to Miss Kelly in his first volume, respectfully requests her acceptance of the collection. 7th June, 1818.”
Charles and Mary Lamb's grave
Lamb's cottage, Edmonton, London